B&H workers are on strike. The electronics company is being accused of union busting, following the announcement that it would be consolidating warehouses in New Jersey and eliminating those in NYC. [Hyperallergic]

Michael Kimmelman discusses Penn Station and Governor Andrew Cuomo’s plan to update it, which he compares to slapping “a two-car garage onto a dilapidated split-level and declare the property good as new.” He also compares Cuomo to Republican Governor Chris Christie. Uh oh. [The New York Times]

Ivanka Trump gets profiled in the Times and comes out smelling pretty okay. Her book, though, “Women Who Work”, gets a thorough trashing. According to Jennifer Senior, it is written entirely from a point of privilege and is witlessly derivative. Those are the biggest issues identified by Senior, but from the reporting, I’d think the complete lack of interest in others might be larger. In the few quotes provided, I actually found it offensive. [The New York Times]

There’s plenty of good stuff to do this week, starting with a Felix Gonzalez-Torres book launch reception at the Whitney Monday night. Carla Gannis has a book launch of her own Tuesday night at the Pratt library, including augmented-reality elements. The rest of the week is dominated by painting and digital art—exemplified by Michael William’s solo show of digitally-produced paintings at Gladstone and Jason Lahr’s digitally-informed paintings at the Painting Center, both of which open Thursday night. For digital purists, check out Low Res: Spatial Politics in the Cloud at NARS Foundation’s Sunset Park digs Friday night. For painting purists, catch Rebecca Leveille’s brushy portraits at Site:Brooklyn. Fans of both media will be relieved to note they’re but a few subway stops away. End the week with FIN’s ICE PIX album release party on Sunday in Bushwick, which features performances from rising stars such as FlucT and Raul de Nieves. Your Monday hangover will be so worth it.

Welcome to the new normal. We at AFC have noticed a decline in artistic output from Brooklyn’s DIY scene as of late, while commercial galleries and institutions in Manhattan (and a few in Queens) have been gearing-up for battle mode with politically-charged programming. We’re hoping this is because everyone in Brooklyn is too busy thinking about resistance, and not because they’ve fled the country.

Tuesday night, The New School is hosting a talk about female bodies online, and Wednesday, the New Museum is opening a massive Raymond Pettibon show. After checking it out, head down the block to ICP, where curators will be discussing the loaded Perpetual Revolution: The Image and Social Change. More talks will come Thursday, such as the Brooklyn Museum’s call to defend immigrants and the Flux Factory/ABC No Rio potluck/opening/discussion about artists’ mutual aid in times like these. Friday night, take a break from political angst to get lost in the dreamy paintings of Jordan Kasey at Nicelle Beauchene, or the likely dreamier office set E.S.P. TV has staged at Pioneer Works. The weekend brings more great art and opportunities for creative resistance: be sure to check out the Queens Museum’s event to build climate change resistance coalitions between artists and activists.

This GIF was originally used in the Awl Newsletter, which says that although you are running in circles, it is important to ask “Are you having fun? Are you with a friend.?” Corinna Kirsch forwarded this to us with the thought, “Although these corgis are supposed to be motivational, I am fairly certain they’re just running around in circles. They never ever stop, so that’s an important work ethic to have, I guess?”

The artist Not Vital just bought an actual castle in the Swiss Alps for $8 million. [Artforum]

Oh, to be the billionaire who paid $2.5 million for a Lichtenstein back in 1994 with his American Express card. (Now it’s valued at $50 million.) The Eli Broad content farm continues: he’s a Medici, he’s the white knight, and he’s making all the NYC galleries come to town. [Bloomberg]

Last week, a glitch at Google Maps gave Los Angeles residents a preview of what the coastline will look like post-sea-level-rise. [Mic]

I’m very impressed with this straight-forward, gourmand description of All Dressed chips, a Canadian staple now available for a limited time to Americans: “they’re made with paprika and a mysterious All Dressed spice blend…these chips taste a little bit like ketchup, vinegar and BBQ mixed together.” [Huffington Post]

“Does Massimiliano Gioni Know Anything About Women?” is a strange way to headline a positive review that never asks the question. The piece is an exhaustive look at Gioni’s encyclopedic show “The Great Mother” at the Palazzo Reale in Milan—the clickbait headline diminishes the work of the review. [artnet News (who else?)]

Think Red Bull is a somewhat benevolent corporate sponsor for the arts? Think again, especially now they have an exhibition in Philly forcing artists to create work out of their cans. [Philly.com]

Jason Farago reviews the Tate’s “World Goes Pop” survey of pop art made from a global perspective. He discusses how Brazilian pop was more agit-pop, especially in the context of the dictatorship of the Brazilian military regime, and reflected a moment when artists and musicians were imprisoned (Caetano Veloso) or forced into exile (Antonio Dias) for opposing the censorship. [The Guardian]

Carol Diehl complains that critics are writing negative reviews about Banksy’s Dismaland without having seen it. She plans to fix the problem by heading out there herself. Sure, it’s good to see things in the flesh, but I don’t believe you have to see everything in the flesh to know it isn’t any good. Certainly, we get enough terrible blind submissions in around here to know we’d be wasting our time confirming their terribleness in person. But, I guess when a more thorough trashing is due, it’s time to head out to Dismaland. [Art Vent]

D.C.’s National Museum of Women in the Arts is launching a fall initiative to discuss gender parity and social issues in the art world—a topic described as “the elephant in the room”. Women, Arts, and Social Change will feature talks from artists including Carrie Mae Weems, critic Jillian Steinhauer, and vice president/partner at Galerie Lelong to name a few. The event is organized by curator Maura Reilly. [artnet News]

Those of us who don’t have right-wing friends in our social media networks have probably missed the flood of insane racist memes “warning” Europeans about asylum-seeking refugees from Syria. Here’s a debunking of the most popular ones—which usually require little more than reverse-image-search to invalidate. [VICE]

Julia Halperin reports that the New Museum will be transforming the warehouse next to them into an “incubator” for art, design and technology. Associate Director Massimiliano Gioni says the project is an extension of the New Museum’s interest in “developing new formats for the distribution of knowledge.” That’s perhaps overstating a real estate venture, but whatever it is, the museum’s got a new revenue stream, and that’s likely a good thing. [The Art Newspaper]

The government shutdown cost the Smithsonian nearly 3 million dollars. [The Art Newspaper]

Yung Jake has noticed a new trend: leaning art and architecture. Naturally he’s started a tumblr to chart this trend. [Leanrs]

An entire listicle charting the importance of blue. We told you this was a trending color. [The Huffington Post]

First Park has a new public artwork: Christopher Walken Rex. The artists Caleb Kuball and Ethan Cyr say the idea came from watching the family in the Queen of Versailles. Cyr’s quoted: “I saw how rich those kids were, and their lack of creation with all that money. I decided if I could get that much money I would make something great.” [boweryboogie]

If that Hyperallergic post made you think that you might like to get in on some art, now’s your chance. NURTUREArt’s benefit is happening tonight, and they have more work I’ve ever seen in a benefit auction. I suggest Eric Ginsburg’s Bart (the dog), but there are literally hundreds more to choose from. [nurtureart.artcat.com]

For $2000/night, you can sleep over in Judd’s five-story Soho loft, immersing yourself more deeply in art than ever before. [Curbed] UPDATE: Just kidding. [Gallerist]

Following yesterday’s takedown of bikes, and sharing, the Observer kicks off its new column “Isn’t That Rich?,” a column on uptown social life. This week’s edition: chauffeur-nannies, authored by Mr. Burns: “The New York Post recently wrote about parents who were passing off their classroom volunteer duties onto nannies, much to the dismay of their private schools, or rather, of the other moms, who didn’t fancy selling snickerdoodles alongside hired help at bake sales.” Seriously, this is the best thing I’ve read all week. [Observer]

We don’t know how we failed to link this yet, but William Powhida’s new show does a solid job of mocking “conceptually-based” market-tailored art strategies. Between the shipping crate, the neon, the digital color field, he’s basically got the Frieze bases covered. The show’s in LA, but the PDF says it all. [MAN, williampowhida]

Kriston Capps at Washington City Paper has an enjoyably thorough report on Hirshhorn Director Richard Koshalek’s resignation. The bigger question: is Washington willing to support large-scale, unabashedly contemporary projects on the National Mall? [City Paper]

In disputes over fair wages, British museum workers stage walkouts from the National Gallery, Tate Liverpool, Stonehenge, and several more. [BBC]

Carol Vogel’s profile on Massimiliano Gioni tells us little about the Biennale, but once again confirms that, yes, one truly can have it all. [NY Times]

The show is based on the “Encyclopedic Palace,” a Futurist model of a 136 foot-tall skyscraper intended to contain all of the knowledge of the world. It reflects the scope of the art world. Gioni “hop[es] every artist in the show comes across as an outsider.” [Sotheby’s]

HuffPo describes Ai Weiwei’s “Sacred”, a solo show collateral to the Biennale, and its six dioramas of his treatment in prison, and perfect reconstructions of his cell. He’s also showing “Straight,” 150 tons of straightened rebar scrounged from the ruins of Chinese schools which collapsed in the 2008 Sichuan earthquake and killed over 5,000 children. [HuffPo]

#ArtsTech announces the #ArtsTech Unconference, to be held on April 27th. It’s not a typical conference: anyone can submit ideas for panels, workshops, and talks. Unheard of ideas by underdogs, we understand, would be more than welcome. And if your idea becomes a Featured Session, you’ll get free passes to the event. Woo! [ArtsTech]

Massimiliano Gioni talks to ArtInfo UK about curating the Venice Biennale. Apparently, outsider artists will be shown alongside established artists. Gioni cites Roberta Smith as an influence, an awful large feather for any critic’s hat. [ArtInfo]

Hyperallergic Editor-In-Chief Hrag Vartanian said he likes invisible history Danh Vo over Twitter last night. We disagree about the merit of this work, at least in respect to We The People. Here’s why. [Art F City]

Time Out’s Chicago edition will cease print publication. Staffers were told that print publication would cease beginning in April and most of the company’s 60 employees will lose their jobs. [Time Out Chicago]

AFC friend Edward Champion (Ed Rants), will walk 3,000 miles from Brooklyn to San Francisco, writing dispatches as he goes. The project will culminate in an oral history radio narrative. It’s gonna take him 6 months, so he’s fundraising for the project. Help him out. I think this is going to be a great project. [indigogo]

We missed Justin Lieberman’s talk at Paper Monument last night and are now filled with feelings of self-loathing for doing so. Read his account of the best art assignment ever. [Paper Monument]